Dexter Gordon - Dexter Calling

Analogue Productions' Blue Note and Nat "King" Cole Reissues WIN A Positive Feedback 2010 Brutus Award!

"...if you haven't picked up every one of the Blue Note and Nat King Cole reissues from Chad Kassem and company at Acoustic Sounds, you're really missing out!" - David W. Robinson, Positive Feedback, Issue 52

"...As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands...Back home a month later, I unpack some test pressings Chad Kassem has sent me...I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud." – Jason Victor Serinus, Stereophile, April 2008

"...I guarantee you've never heard this level of musical realism: detail and definition are second to none, and the soundstaging and imaging are jaw-droppingly holographic. Listening to these becomes a certifiable 'beam me up' moment and, best of all, the sonics are so 'grabbing' they make you pay attention to the music again – they are totally compelling." – Mike Quinn, JazzTimes, September 2008

"...a big, open stage, an intensely vibrant, rich, and burnished sax sound, solid bass and piano, exceptionally percussive drums, and ringing cymbals." – Wayne Garcia, The Absolute Sound, August 2008

"A terrific and mature set finds this great tenor player displaying modal influences from Davis and Coltrane, while remaining true to his own distinct voice. A great rhythm section, strong song list, and excellent sound make for an outstanding reissue." – Playback, June 2008

"...The sound on this Steve Hoffman/Kevin Gray mastering job is splendid – stacked up next to my mono original this re-issue is better in every category save an over-wide stereo spread. But the harmonic rightness of the re-issue wins the day by a not insignificant margin, and the cost is a third of what an original fetches." Recording = 9/10; Music = 10/10 – Dennis D. Davis, Hi-Fi+, Issue 58

"...As much as I'd love to relay all kinds of anecdotes about the challenges Steve Hoffman and Kevin Gray encounter during the mastering sessions, I witness none. These boys know the sound of the facility and the Van Gelder masters like the backs of their hands...Back home a month later, I unpack some test pressings Chad Kassem has sent me...I hear the most realistic-sounding drums ever reproduced by my system. It's as though I'm sitting at the point of creation, experiencing the same high that brought such gifted musicians together as one. Steve Hoffman, Kevin Gray, Chad Kassem, and Don MacInnis have done Rudy Van Gelder and his Blue Note artists proud." – Jason Victor Serinus, Stereophile, April 2008

"I have my two new Blue Note LPs here and as I sit writing this I am listening to the Dexter Gordon, WOW!...sitting here listening to this wonderful music, just clean, no background noise, a black background, like the studio that they recorded this in, it is wonderful. The instruments coming out of the sound stage positioned as they were recorded, this is a real treat." – Miller Steel, Acoustic Sounds customer

"...these first five Acoustic Sounds Blue Note re-issues are pure bop genius...The best news is that Kevin Gray and Steve Hoffman were keen enough to do nothing more than gently clean up the masters, bringing us even closer to the hard bop edge. The 45 rpm pressings that I received were all super quiet with every last drop of resolution from the master tapes. I had almost forgotten just how good Paul Chambers and Phil Joe were together as the backbone of these groups. I've always loved this music but I didn't remember it sounding this good! Hank Mobley offers us some brilliant sax bits on one of Kenny Dorham's finest recordings, Whistle Stop and Dexter Gordon's performance blew me away as well. The biggest surprise were the Lee Morgan records. I suggest turning these up loud, since they possess unlimited energy and some hooks that will knock you out. Amazing! Just a small warning: Once you start playing these Blue Note recordings you will be hooked. The good news is that Acoustic Sounds is working on at least 20 more of these jazz gems. So make sure your turntable has a setting for 45 rpm, clean your stylus occassionally, and get ready to be transported to nirvana." - Dan Babineau, Tone Audio, No. 14 2008, www.tonepublications.com

"I have just listened, in succession, to my mono and early stereo versions of each LP. I have purchased other similar reissues over the years, but find the engineering and pressing of this 45rpm/180 series to be superior to all to others. This is particularly since I find many new releases to be of inferior quality or handling during manufacture, despite being re-engineered and of heavier vinyl." – Barry Paulson, Acoustic Sounds customer

Dexter Gordon connects immediately with the sublime rhythm section of Kenny Drew, Paul Chambers and Philly Joe Jones on this, his second Blue Note album. The material ranges from Drew originals to pieces from Gordon's score for the Los Angeles production of "The Connection" to stunning performances of the standards "The End Of A Love Affair" and "Smile."

Recorded in 1961.

Paul Chambers, bass

Kenny Drew, piano

Dexter Gordon, sax (tenor)

Philly Joe Jones, drums

Soul Sister

Modal Mood

I Want More

The End of a Love Affair

Clear the Dex

Ernie's Tune

Smile